How to write for percussion :: a comprehensive guide to percussion composition /
How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the compose...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York :
Oxford University Press,
2016.
|
| Ausgabe: | Second edition. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the composer needs to comfortably create innovative and skilled percussion composition. |
| Beschreibung: | Includes index. |
| Beschreibung: | 1 online resource |
| ISBN: | 9780199920358 0199920354 |
Internformat
MARC
| LEADER | 00000cam a2200000 i 4500 | ||
|---|---|---|---|
| 001 | ZDB-4-EBA-ocn936117814 | ||
| 003 | OCoLC | ||
| 005 | 20241004212047.0 | ||
| 006 | m o d | ||
| 007 | cr cnu---unuuu | ||
| 008 | 160127s2016 nyu o 001 0 eng d | ||
| 040 | |a N$T |b eng |e rda |e pn |c N$T |d N$T |d OCLCO |d YDXCP |d IDEBK |d CDX |d WAU |d IUL |d UAB |d OCLCQ |d UX1 |d VT2 |d OCLCO |d K6U |d OCLCQ |d UKAHL |d OCLCO |d OCLCL |d SFB |d ELBRO |d OCLCQ |d OCLCO |d OCLCQ | ||
| 019 | |a 1152975904 |a 1228597535 | ||
| 020 | |a 9780199920358 |q (electronic bk.) | ||
| 020 | |a 0199920354 |q (electronic bk.) | ||
| 020 | |z 9780199920341 | ||
| 020 | |z 0199920346 | ||
| 020 | |z 9780199920365 | ||
| 020 | |z 0199920362 | ||
| 035 | |a (OCoLC)936117814 |z (OCoLC)1152975904 |z (OCoLC)1228597535 | ||
| 037 | |a 4414028 |b Proquest Ebook Central | ||
| 050 | 4 | |a MT40 |b .S82 2016eb | |
| 072 | 7 | |a MUS |x 023030 |2 bisacsh | |
| 072 | 7 | |a MUS |x 037080 |2 bisacsh | |
| 082 | 7 | |a 786.8/13 |2 23 | |
| 049 | |a MAIN | ||
| 100 | 1 | |a Solomon, Samuel Z., |e author. |1 https://id.oclc.org/worldcat/entity/E39PCjGyDFy4fhXTYTkK4KmgYX |0 http://id.loc.gov/authorities/names/no2008168795 | |
| 245 | 1 | 0 | |a How to write for percussion : |b a comprehensive guide to percussion composition / |c Samuel Z. Solomon. |
| 250 | |a Second edition. | ||
| 264 | 1 | |a New York : |b Oxford University Press, |c 2016. | |
| 300 | |a 1 online resource | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 385 | |a Composers |2 lcdgt | ||
| 500 | |a Includes index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Introduction. How this book is organized ; Instruments covered ; Working with percussionists ; Location specifics ; The value of not reading this book. | |
| 505 | 0 | |a General framework. A dysfunctional family. Comparison of family relationships -- The problem of pitch. The pitches of percussion ; The validations and limitations of novelty ; Three methods for indeterminately pitch instruments -- The written/improv divide. Expanding the color palette (to shrink the setup) ; The value of improvised and non-notated music -- Social composition. Write for people, not sounds ; Write what is wanted, not what to do ; Working with percussionists. | |
| 505 | 0 | |a General logistics. Instrument choice and management. Six stories, three sad and three happy ; Why use fewer instruments? ; How to consolidate ; Inexpensive instruments ; Exotic instruments ; Electronic percussion ; Multiple options for a specified instrument ; Instruments percussionists may not play ; Multiple percussionists ; Section setup ; Orchestra ; Wind ensemble ; Broadway pit ; Drum corps and marching bands ; Specialists ; Non-percussionists playing percussion ; Chairs and stands -- Issues of playability. Excessive polyphony ; How fast percussionists can play ; Unidiomatic writing : music that often requires memorization ; Dynamics ; Reaching the instruments ; Instruments with pedals ; Physical exertion and shaking ; Working with headphones or headset microphones. | |
| 505 | 0 | |a General notation. Basics of percussion parts and scores. Instrument list ; Instrument key ; Setup diagram ; Language ; Parts ; Cues ; Percussion in the conductor's score ; Dynamics -- Designing a notational system. Clefs ; Staves ; Noteheads ; Mixing determinately and indeterminately pitched instruments ; Key signatures ; What goes where on the staff ; The chicken or the egg? ; Unspecified instruments (indeterminate instrumentation) ; How much to notate ; Systems of notation for which there is no standard ; Return to a "normal" method of playing -- Note length, articulation, and phrasing. Note length chart ; Exact or inexact note-length indications ; Muting (muffling, dampening) ; Dead stroke ; Damper pedals ; Rolls -- Notations that are not recommended. Symbol notation ; Altered keyboard notation (timbre-staff). | |
| 505 | 0 | |a Beaters. To indicate or not to indicate? ; Beater lingo ; Logistical beater issues ; Sticks ; Mallets ; Triangle beaters and Knitting needles ; Brushes ; Rute sticks ; Chime hammers (Tubular bell hammers) ; Superball mallet ; Beaters as instruments ; Hands ; Bows -- Keyboard percussion. Ranges and construction ; Writing for keyboard percussion ; Stacked instruments ; Multiple players ; Extended techniques ; Miscellaneous. | |
| 505 | 0 | |a Drums. Sticks on drums ; Mallets on drums ; Hands on drums ; Playing on the rim or shell ; Beating spot ; Mutes ; Pitch bending ; Drum size ; Two-headed drums ; Multiple drums in setups ; Idiomatic writing for drums ; Timpani ; Tom-toms ; Snare drum, Field drum, and Tenor drum ; Concert bass drum and Pedal bass drum ; Bongos and Congas ; Timbales ; Roto-toms ; Frame drums ; Tambourines ; Djembe and Doumbek ; Boobams ; Drumset. | |
| 505 | 0 | |a Metal. Cymbals ; Gongs ; Finger cymbals ; Cowbells and Almglocken ; Temple bowls and Mixing bowls ; Brake drums, Metal pipes, Anvils, and Bell plates ; Thundersheet ; Junk metal, Tin cans, and Pots and pans ; Ribbon crasher ; Spring coil ; Church bells ; Hand bells ; Steel drums ; Tambourines ; Sleighbells ; Metal wind chimes, Mark tree, and Bell tree ; Flexatone ; Extended techniques. | |
| 505 | 0 | |a Wood. Woodblocks, Templeblocks, and Log drum ; Wooden planks ; Wood drums, Wooden boxes, Cajâon, and Mahler hammer ; Claves ; Castanets ; Rute ; Guiro ; Slapstick ; Ratchet ; Bamboo wind chimes -- Miscellaneous instruments. Bottles ; Cabasa ; Conch shell ; Crystal glasses ; Maracas and Shakers ; Rainstick ; Rice bowls and Flower pots ; Sandpaper blocks ; Sirens ; String drum and Cuica ; Stones and Prayer stones ; Thumb piano ; Vibraslap ; Wind chimes ; Whistles ; Wind machine | |
| 505 | 0 | |a Appendix A. Repertoire analysis. Percussion ensemble. Edgard Varáese, Ionisation (1929-1931) ; John Cage, Constructions (1939-1942) ; Iannis Xenakis, Persephassa (1969) ; Steve Reich, Drumming (1970-1971) ; Steve Mackey, It is time (2010) ; John Luther Adams, Inuksuit (2009) ; Ryan Streber, Cold pastoral (2004) ; Nico Muhly, Ta clap (2004) ; Adam Silverman, Naked and on fire (2011) ; Paul Lansky, Travel diary (2007) -- Orchestral. Bâela Bartâok ; Sergei Prokofiev ; Maurice Ravel ; Gustav Mahler ; Dmitri Shostakovich ; Leonard Bernstein ; Carl Nielsen ; Jean Sibelius ; Wind Ensemble -- Smaller mixed ensemble. John Adams, Chamber symphony (1992) ; Stephan Hartke, Meanwhile (2007) ; Jacob Druckman, Come round (1992) ; Charles Wuorinen, New York notes (1982) ; Pierre Boulez, Sur incises (1996/1998) -- Percussion solo : Drums. Michio Kitazume, Side by side (1991) ; Elliott Carter, Eight pieces for four timpani (1950/1966) ; Casey Cangelosi, Meditation no. 1 (2011) -- Percussion solo : Keyboards. Jacob Druckman, Reflections on the nature of water (1986) ; Paul Simon, Amulet (2008) ; Steve Mackey, See ya Thursday (1992) ; Steve Swallow/Gary Burton, I'm your pal and Hullo Bolinas ; Donald Martino, Soliloquy (2003) -- Percussion solo : Multi-percussion. Iannis Xenakis, Psappha (1975) ; David Lang, Anvil chorus (1991) ; Roger Reynolds, Watershed (1995) ; Four Pieces for the author's "Setup #1" ; Nico Muhly, It's about time (2004) ; Michael Early, Raingutter (2007) ; Marcos Balter, Descarga (2006) ; Judd Greenstein, We shall be turned (2006) -- Percussion concerto. James MacMillan, Veni veni Emmanuel (1992) ; Einojuhani Rautavaara, Incantations (2008) ; Steven Mackey, Micro-concerto (1999) -- Orchestrating native sound. | |
| 505 | 0 | |a 505 8 $a Appendix B. Sample setups -- Appendix C. Extended techniques. Return to a "normal" method of playing ; Manipulations of timbre ; Striking unusual parts of an instrument ; Unusual usage of beaters ; Dead stroke ; Beating spot ; Bowing ; Friction roll ; Scrape ; Prepared instruments ; Pitch bending ; Vibrato ; Adding mass ; Sympathetic resonance ; Clusters ; Harmonics -- Appendix D. Pitch specification -- Appendix E. Dynamics -- Appendix F. Register -- Appendix G. Beaters -- Appendix H. Percussion family tree. Pitch clarity chart ; Note length chart ; Register chart ; Sound production chart ; The percussion family tree. | |
| 520 | |a How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the composer needs to comfortably create innovative and skilled percussion composition. | ||
| 650 | 0 | |a Composition (Music) |0 http://id.loc.gov/authorities/subjects/sh85029403 | |
| 650 | 0 | |a Percussion instruments |x Instruction and study. | |
| 650 | 6 | |a Composition (Musique) | |
| 650 | 6 | |a Instruments à percussion |x Étude et enseignement. | |
| 650 | 7 | |a MUSIC |x Musical Instruments |x Piano & Keyboard. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Printed Music |x Percussion. |2 bisacsh | |
| 650 | 7 | |a Composition (Music) |2 fast | |
| 650 | 7 | |a Percussion instruments |x Instruction and study |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Solomon, Samuel Z. |t How to write for percussion. |b Second edition |z 9780199920341 |w (DLC) 2015018562 |w (OCoLC)909112416 |
| 856 | 4 | 0 | |l FWS01 |p ZDB-4-EBA |q FWS_PDA_EBA |u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1161549 |3 Volltext |
| 938 | |a eLibro |b ELBO |n ELB163375 | ||
| 938 | |a Askews and Holts Library Services |b ASKH |n AH41347649 | ||
| 938 | |a Coutts Information Services |b COUT |n 33696482 | ||
| 938 | |a EBSCOhost |b EBSC |n 1161549 | ||
| 938 | |a ProQuest MyiLibrary Digital eBook Collection |b IDEB |n cis33696482 | ||
| 938 | |a YBP Library Services |b YANK |n 12821844 | ||
| 994 | |a 92 |b GEBAY | ||
| 912 | |a ZDB-4-EBA | ||
| 049 | |a DE-863 | ||
Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-ocn936117814 |
|---|---|
| _version_ | 1816882337586085888 |
| adam_text | |
| any_adam_object | |
| author | Solomon, Samuel Z. |
| author_GND | http://id.loc.gov/authorities/names/no2008168795 |
| author_facet | Solomon, Samuel Z. |
| author_role | aut |
| author_sort | Solomon, Samuel Z. |
| author_variant | s z s sz szs |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | M - Music |
| callnumber-label | MT40 |
| callnumber-raw | MT40 .S82 2016eb |
| callnumber-search | MT40 .S82 2016eb |
| callnumber-sort | MT 240 S82 42016EB |
| callnumber-subject | MT - Instruction and Study |
| collection | ZDB-4-EBA |
| contents | Introduction. How this book is organized ; Instruments covered ; Working with percussionists ; Location specifics ; The value of not reading this book. General framework. A dysfunctional family. Comparison of family relationships -- The problem of pitch. The pitches of percussion ; The validations and limitations of novelty ; Three methods for indeterminately pitch instruments -- The written/improv divide. Expanding the color palette (to shrink the setup) ; The value of improvised and non-notated music -- Social composition. Write for people, not sounds ; Write what is wanted, not what to do ; Working with percussionists. General logistics. Instrument choice and management. Six stories, three sad and three happy ; Why use fewer instruments? ; How to consolidate ; Inexpensive instruments ; Exotic instruments ; Electronic percussion ; Multiple options for a specified instrument ; Instruments percussionists may not play ; Multiple percussionists ; Section setup ; Orchestra ; Wind ensemble ; Broadway pit ; Drum corps and marching bands ; Specialists ; Non-percussionists playing percussion ; Chairs and stands -- Issues of playability. Excessive polyphony ; How fast percussionists can play ; Unidiomatic writing : music that often requires memorization ; Dynamics ; Reaching the instruments ; Instruments with pedals ; Physical exertion and shaking ; Working with headphones or headset microphones. General notation. Basics of percussion parts and scores. Instrument list ; Instrument key ; Setup diagram ; Language ; Parts ; Cues ; Percussion in the conductor's score ; Dynamics -- Designing a notational system. Clefs ; Staves ; Noteheads ; Mixing determinately and indeterminately pitched instruments ; Key signatures ; What goes where on the staff ; The chicken or the egg? ; Unspecified instruments (indeterminate instrumentation) ; How much to notate ; Systems of notation for which there is no standard ; Return to a "normal" method of playing -- Note length, articulation, and phrasing. Note length chart ; Exact or inexact note-length indications ; Muting (muffling, dampening) ; Dead stroke ; Damper pedals ; Rolls -- Notations that are not recommended. Symbol notation ; Altered keyboard notation (timbre-staff). Beaters. To indicate or not to indicate? ; Beater lingo ; Logistical beater issues ; Sticks ; Mallets ; Triangle beaters and Knitting needles ; Brushes ; Rute sticks ; Chime hammers (Tubular bell hammers) ; Superball mallet ; Beaters as instruments ; Hands ; Bows -- Keyboard percussion. Ranges and construction ; Writing for keyboard percussion ; Stacked instruments ; Multiple players ; Extended techniques ; Miscellaneous. Drums. Sticks on drums ; Mallets on drums ; Hands on drums ; Playing on the rim or shell ; Beating spot ; Mutes ; Pitch bending ; Drum size ; Two-headed drums ; Multiple drums in setups ; Idiomatic writing for drums ; Timpani ; Tom-toms ; Snare drum, Field drum, and Tenor drum ; Concert bass drum and Pedal bass drum ; Bongos and Congas ; Timbales ; Roto-toms ; Frame drums ; Tambourines ; Djembe and Doumbek ; Boobams ; Drumset. Metal. Cymbals ; Gongs ; Finger cymbals ; Cowbells and Almglocken ; Temple bowls and Mixing bowls ; Brake drums, Metal pipes, Anvils, and Bell plates ; Thundersheet ; Junk metal, Tin cans, and Pots and pans ; Ribbon crasher ; Spring coil ; Church bells ; Hand bells ; Steel drums ; Tambourines ; Sleighbells ; Metal wind chimes, Mark tree, and Bell tree ; Flexatone ; Extended techniques. Wood. Woodblocks, Templeblocks, and Log drum ; Wooden planks ; Wood drums, Wooden boxes, Cajâon, and Mahler hammer ; Claves ; Castanets ; Rute ; Guiro ; Slapstick ; Ratchet ; Bamboo wind chimes -- Miscellaneous instruments. Bottles ; Cabasa ; Conch shell ; Crystal glasses ; Maracas and Shakers ; Rainstick ; Rice bowls and Flower pots ; Sandpaper blocks ; Sirens ; String drum and Cuica ; Stones and Prayer stones ; Thumb piano ; Vibraslap ; Wind chimes ; Whistles ; Wind machine Appendix A. Repertoire analysis. Percussion ensemble. Edgard Varáese, Ionisation (1929-1931) ; John Cage, Constructions (1939-1942) ; Iannis Xenakis, Persephassa (1969) ; Steve Reich, Drumming (1970-1971) ; Steve Mackey, It is time (2010) ; John Luther Adams, Inuksuit (2009) ; Ryan Streber, Cold pastoral (2004) ; Nico Muhly, Ta clap (2004) ; Adam Silverman, Naked and on fire (2011) ; Paul Lansky, Travel diary (2007) -- Orchestral. Bâela Bartâok ; Sergei Prokofiev ; Maurice Ravel ; Gustav Mahler ; Dmitri Shostakovich ; Leonard Bernstein ; Carl Nielsen ; Jean Sibelius ; Wind Ensemble -- Smaller mixed ensemble. John Adams, Chamber symphony (1992) ; Stephan Hartke, Meanwhile (2007) ; Jacob Druckman, Come round (1992) ; Charles Wuorinen, New York notes (1982) ; Pierre Boulez, Sur incises (1996/1998) -- Percussion solo : Drums. Michio Kitazume, Side by side (1991) ; Elliott Carter, Eight pieces for four timpani (1950/1966) ; Casey Cangelosi, Meditation no. 1 (2011) -- Percussion solo : Keyboards. Jacob Druckman, Reflections on the nature of water (1986) ; Paul Simon, Amulet (2008) ; Steve Mackey, See ya Thursday (1992) ; Steve Swallow/Gary Burton, I'm your pal and Hullo Bolinas ; Donald Martino, Soliloquy (2003) -- Percussion solo : Multi-percussion. Iannis Xenakis, Psappha (1975) ; David Lang, Anvil chorus (1991) ; Roger Reynolds, Watershed (1995) ; Four Pieces for the author's "Setup #1" ; Nico Muhly, It's about time (2004) ; Michael Early, Raingutter (2007) ; Marcos Balter, Descarga (2006) ; Judd Greenstein, We shall be turned (2006) -- Percussion concerto. James MacMillan, Veni veni Emmanuel (1992) ; Einojuhani Rautavaara, Incantations (2008) ; Steven Mackey, Micro-concerto (1999) -- Orchestrating native sound. 505 8 $a Appendix B. Sample setups -- Appendix C. Extended techniques. Return to a "normal" method of playing ; Manipulations of timbre ; Striking unusual parts of an instrument ; Unusual usage of beaters ; Dead stroke ; Beating spot ; Bowing ; Friction roll ; Scrape ; Prepared instruments ; Pitch bending ; Vibrato ; Adding mass ; Sympathetic resonance ; Clusters ; Harmonics -- Appendix D. Pitch specification -- Appendix E. Dynamics -- Appendix F. Register -- Appendix G. Beaters -- Appendix H. Percussion family tree. Pitch clarity chart ; Note length chart ; Register chart ; Sound production chart ; The percussion family tree. |
| ctrlnum | (OCoLC)936117814 |
| dewey-full | 786.8/13 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 786 - Keyboard & other instruments |
| dewey-raw | 786.8/13 |
| dewey-search | 786.8/13 |
| dewey-sort | 3786.8 213 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| edition | Second edition. |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>09544cam a2200745 i 4500</leader><controlfield tag="001">ZDB-4-EBA-ocn936117814</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20241004212047.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr cnu---unuuu</controlfield><controlfield tag="008">160127s2016 nyu o 001 0 eng d</controlfield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">N$T</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="e">pn</subfield><subfield code="c">N$T</subfield><subfield code="d">N$T</subfield><subfield code="d">OCLCO</subfield><subfield code="d">YDXCP</subfield><subfield code="d">IDEBK</subfield><subfield code="d">CDX</subfield><subfield code="d">WAU</subfield><subfield code="d">IUL</subfield><subfield code="d">UAB</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">UX1</subfield><subfield code="d">VT2</subfield><subfield code="d">OCLCO</subfield><subfield code="d">K6U</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">UKAHL</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCL</subfield><subfield code="d">SFB</subfield><subfield code="d">ELBRO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield></datafield><datafield tag="019" ind1=" " ind2=" "><subfield code="a">1152975904</subfield><subfield code="a">1228597535</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780199920358</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">0199920354</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9780199920341</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">0199920346</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9780199920365</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">0199920362</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)936117814</subfield><subfield code="z">(OCoLC)1152975904</subfield><subfield code="z">(OCoLC)1228597535</subfield></datafield><datafield tag="037" ind1=" " ind2=" "><subfield code="a">4414028</subfield><subfield code="b">Proquest Ebook Central</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">MT40</subfield><subfield code="b">.S82 2016eb</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS</subfield><subfield code="x">023030</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS</subfield><subfield code="x">037080</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">786.8/13</subfield><subfield code="2">23</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Solomon, Samuel Z.,</subfield><subfield code="e">author.</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCjGyDFy4fhXTYTkK4KmgYX</subfield><subfield code="0">http://id.loc.gov/authorities/names/no2008168795</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">How to write for percussion :</subfield><subfield code="b">a comprehensive guide to percussion composition /</subfield><subfield code="c">Samuel Z. Solomon.</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">Second edition.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">New York :</subfield><subfield code="b">Oxford University Press,</subfield><subfield code="c">2016.</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="385" ind1=" " ind2=" "><subfield code="a">Composers</subfield><subfield code="2">lcdgt</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Includes index.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Introduction. How this book is organized ; Instruments covered ; Working with percussionists ; Location specifics ; The value of not reading this book.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">General framework. A dysfunctional family. Comparison of family relationships -- The problem of pitch. The pitches of percussion ; The validations and limitations of novelty ; Three methods for indeterminately pitch instruments -- The written/improv divide. Expanding the color palette (to shrink the setup) ; The value of improvised and non-notated music -- Social composition. Write for people, not sounds ; Write what is wanted, not what to do ; Working with percussionists.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">General logistics. Instrument choice and management. Six stories, three sad and three happy ; Why use fewer instruments? ; How to consolidate ; Inexpensive instruments ; Exotic instruments ; Electronic percussion ; Multiple options for a specified instrument ; Instruments percussionists may not play ; Multiple percussionists ; Section setup ; Orchestra ; Wind ensemble ; Broadway pit ; Drum corps and marching bands ; Specialists ; Non-percussionists playing percussion ; Chairs and stands -- Issues of playability. Excessive polyphony ; How fast percussionists can play ; Unidiomatic writing : music that often requires memorization ; Dynamics ; Reaching the instruments ; Instruments with pedals ; Physical exertion and shaking ; Working with headphones or headset microphones.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">General notation. Basics of percussion parts and scores. Instrument list ; Instrument key ; Setup diagram ; Language ; Parts ; Cues ; Percussion in the conductor's score ; Dynamics -- Designing a notational system. Clefs ; Staves ; Noteheads ; Mixing determinately and indeterminately pitched instruments ; Key signatures ; What goes where on the staff ; The chicken or the egg? ; Unspecified instruments (indeterminate instrumentation) ; How much to notate ; Systems of notation for which there is no standard ; Return to a "normal" method of playing -- Note length, articulation, and phrasing. Note length chart ; Exact or inexact note-length indications ; Muting (muffling, dampening) ; Dead stroke ; Damper pedals ; Rolls -- Notations that are not recommended. Symbol notation ; Altered keyboard notation (timbre-staff).</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Beaters. To indicate or not to indicate? ; Beater lingo ; Logistical beater issues ; Sticks ; Mallets ; Triangle beaters and Knitting needles ; Brushes ; Rute sticks ; Chime hammers (Tubular bell hammers) ; Superball mallet ; Beaters as instruments ; Hands ; Bows -- Keyboard percussion. Ranges and construction ; Writing for keyboard percussion ; Stacked instruments ; Multiple players ; Extended techniques ; Miscellaneous.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Drums. Sticks on drums ; Mallets on drums ; Hands on drums ; Playing on the rim or shell ; Beating spot ; Mutes ; Pitch bending ; Drum size ; Two-headed drums ; Multiple drums in setups ; Idiomatic writing for drums ; Timpani ; Tom-toms ; Snare drum, Field drum, and Tenor drum ; Concert bass drum and Pedal bass drum ; Bongos and Congas ; Timbales ; Roto-toms ; Frame drums ; Tambourines ; Djembe and Doumbek ; Boobams ; Drumset.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Metal. Cymbals ; Gongs ; Finger cymbals ; Cowbells and Almglocken ; Temple bowls and Mixing bowls ; Brake drums, Metal pipes, Anvils, and Bell plates ; Thundersheet ; Junk metal, Tin cans, and Pots and pans ; Ribbon crasher ; Spring coil ; Church bells ; Hand bells ; Steel drums ; Tambourines ; Sleighbells ; Metal wind chimes, Mark tree, and Bell tree ; Flexatone ; Extended techniques.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Wood. Woodblocks, Templeblocks, and Log drum ; Wooden planks ; Wood drums, Wooden boxes, Cajâon, and Mahler hammer ; Claves ; Castanets ; Rute ; Guiro ; Slapstick ; Ratchet ; Bamboo wind chimes -- Miscellaneous instruments. Bottles ; Cabasa ; Conch shell ; Crystal glasses ; Maracas and Shakers ; Rainstick ; Rice bowls and Flower pots ; Sandpaper blocks ; Sirens ; String drum and Cuica ; Stones and Prayer stones ; Thumb piano ; Vibraslap ; Wind chimes ; Whistles ; Wind machine</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Appendix A. Repertoire analysis. Percussion ensemble. Edgard Varáese, Ionisation (1929-1931) ; John Cage, Constructions (1939-1942) ; Iannis Xenakis, Persephassa (1969) ; Steve Reich, Drumming (1970-1971) ; Steve Mackey, It is time (2010) ; John Luther Adams, Inuksuit (2009) ; Ryan Streber, Cold pastoral (2004) ; Nico Muhly, Ta clap (2004) ; Adam Silverman, Naked and on fire (2011) ; Paul Lansky, Travel diary (2007) -- Orchestral. Bâela Bartâok ; Sergei Prokofiev ; Maurice Ravel ; Gustav Mahler ; Dmitri Shostakovich ; Leonard Bernstein ; Carl Nielsen ; Jean Sibelius ; Wind Ensemble -- Smaller mixed ensemble. John Adams, Chamber symphony (1992) ; Stephan Hartke, Meanwhile (2007) ; Jacob Druckman, Come round (1992) ; Charles Wuorinen, New York notes (1982) ; Pierre Boulez, Sur incises (1996/1998) -- Percussion solo : Drums. Michio Kitazume, Side by side (1991) ; Elliott Carter, Eight pieces for four timpani (1950/1966) ; Casey Cangelosi, Meditation no. 1 (2011) -- Percussion solo : Keyboards. Jacob Druckman, Reflections on the nature of water (1986) ; Paul Simon, Amulet (2008) ; Steve Mackey, See ya Thursday (1992) ; Steve Swallow/Gary Burton, I'm your pal and Hullo Bolinas ; Donald Martino, Soliloquy (2003) -- Percussion solo : Multi-percussion. Iannis Xenakis, Psappha (1975) ; David Lang, Anvil chorus (1991) ; Roger Reynolds, Watershed (1995) ; Four Pieces for the author's "Setup #1" ; Nico Muhly, It's about time (2004) ; Michael Early, Raingutter (2007) ; Marcos Balter, Descarga (2006) ; Judd Greenstein, We shall be turned (2006) -- Percussion concerto. James MacMillan, Veni veni Emmanuel (1992) ; Einojuhani Rautavaara, Incantations (2008) ; Steven Mackey, Micro-concerto (1999) -- Orchestrating native sound.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">505 8 $a Appendix B. Sample setups -- Appendix C. Extended techniques. Return to a "normal" method of playing ; Manipulations of timbre ; Striking unusual parts of an instrument ; Unusual usage of beaters ; Dead stroke ; Beating spot ; Bowing ; Friction roll ; Scrape ; Prepared instruments ; Pitch bending ; Vibrato ; Adding mass ; Sympathetic resonance ; Clusters ; Harmonics -- Appendix D. Pitch specification -- Appendix E. Dynamics -- Appendix F. Register -- Appendix G. Beaters -- Appendix H. Percussion family tree. Pitch clarity chart ; Note length chart ; Register chart ; Sound production chart ; The percussion family tree.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the composer needs to comfortably create innovative and skilled percussion composition.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Composition (Music)</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh85029403</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Percussion instruments</subfield><subfield code="x">Instruction and study.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Composition (Musique)</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Instruments à percussion</subfield><subfield code="x">Étude et enseignement.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Musical Instruments</subfield><subfield code="x">Piano & Keyboard.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Printed Music</subfield><subfield code="x">Percussion.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Composition (Music)</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Percussion instruments</subfield><subfield code="x">Instruction and study</subfield><subfield code="2">fast</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="a">Solomon, Samuel Z.</subfield><subfield code="t">How to write for percussion.</subfield><subfield code="b">Second edition</subfield><subfield code="z">9780199920341</subfield><subfield code="w">(DLC) 2015018562</subfield><subfield code="w">(OCoLC)909112416</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1161549</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">eLibro</subfield><subfield code="b">ELBO</subfield><subfield code="n">ELB163375</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">AH41347649</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Coutts Information Services</subfield><subfield code="b">COUT</subfield><subfield code="n">33696482</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">1161549</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest MyiLibrary Digital eBook Collection</subfield><subfield code="b">IDEB</subfield><subfield code="n">cis33696482</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">12821844</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBA</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| id | ZDB-4-EBA-ocn936117814 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:27:01Z |
| institution | BVB |
| isbn | 9780199920358 0199920354 |
| language | English |
| oclc_num | 936117814 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource |
| psigel | ZDB-4-EBA |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Oxford University Press, |
| record_format | marc |
| spelling | Solomon, Samuel Z., author. https://id.oclc.org/worldcat/entity/E39PCjGyDFy4fhXTYTkK4KmgYX http://id.loc.gov/authorities/names/no2008168795 How to write for percussion : a comprehensive guide to percussion composition / Samuel Z. Solomon. Second edition. New York : Oxford University Press, 2016. 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier Composers lcdgt Includes index. Print version record. Introduction. How this book is organized ; Instruments covered ; Working with percussionists ; Location specifics ; The value of not reading this book. General framework. A dysfunctional family. Comparison of family relationships -- The problem of pitch. The pitches of percussion ; The validations and limitations of novelty ; Three methods for indeterminately pitch instruments -- The written/improv divide. Expanding the color palette (to shrink the setup) ; The value of improvised and non-notated music -- Social composition. Write for people, not sounds ; Write what is wanted, not what to do ; Working with percussionists. General logistics. Instrument choice and management. Six stories, three sad and three happy ; Why use fewer instruments? ; How to consolidate ; Inexpensive instruments ; Exotic instruments ; Electronic percussion ; Multiple options for a specified instrument ; Instruments percussionists may not play ; Multiple percussionists ; Section setup ; Orchestra ; Wind ensemble ; Broadway pit ; Drum corps and marching bands ; Specialists ; Non-percussionists playing percussion ; Chairs and stands -- Issues of playability. Excessive polyphony ; How fast percussionists can play ; Unidiomatic writing : music that often requires memorization ; Dynamics ; Reaching the instruments ; Instruments with pedals ; Physical exertion and shaking ; Working with headphones or headset microphones. General notation. Basics of percussion parts and scores. Instrument list ; Instrument key ; Setup diagram ; Language ; Parts ; Cues ; Percussion in the conductor's score ; Dynamics -- Designing a notational system. Clefs ; Staves ; Noteheads ; Mixing determinately and indeterminately pitched instruments ; Key signatures ; What goes where on the staff ; The chicken or the egg? ; Unspecified instruments (indeterminate instrumentation) ; How much to notate ; Systems of notation for which there is no standard ; Return to a "normal" method of playing -- Note length, articulation, and phrasing. Note length chart ; Exact or inexact note-length indications ; Muting (muffling, dampening) ; Dead stroke ; Damper pedals ; Rolls -- Notations that are not recommended. Symbol notation ; Altered keyboard notation (timbre-staff). Beaters. To indicate or not to indicate? ; Beater lingo ; Logistical beater issues ; Sticks ; Mallets ; Triangle beaters and Knitting needles ; Brushes ; Rute sticks ; Chime hammers (Tubular bell hammers) ; Superball mallet ; Beaters as instruments ; Hands ; Bows -- Keyboard percussion. Ranges and construction ; Writing for keyboard percussion ; Stacked instruments ; Multiple players ; Extended techniques ; Miscellaneous. Drums. Sticks on drums ; Mallets on drums ; Hands on drums ; Playing on the rim or shell ; Beating spot ; Mutes ; Pitch bending ; Drum size ; Two-headed drums ; Multiple drums in setups ; Idiomatic writing for drums ; Timpani ; Tom-toms ; Snare drum, Field drum, and Tenor drum ; Concert bass drum and Pedal bass drum ; Bongos and Congas ; Timbales ; Roto-toms ; Frame drums ; Tambourines ; Djembe and Doumbek ; Boobams ; Drumset. Metal. Cymbals ; Gongs ; Finger cymbals ; Cowbells and Almglocken ; Temple bowls and Mixing bowls ; Brake drums, Metal pipes, Anvils, and Bell plates ; Thundersheet ; Junk metal, Tin cans, and Pots and pans ; Ribbon crasher ; Spring coil ; Church bells ; Hand bells ; Steel drums ; Tambourines ; Sleighbells ; Metal wind chimes, Mark tree, and Bell tree ; Flexatone ; Extended techniques. Wood. Woodblocks, Templeblocks, and Log drum ; Wooden planks ; Wood drums, Wooden boxes, Cajâon, and Mahler hammer ; Claves ; Castanets ; Rute ; Guiro ; Slapstick ; Ratchet ; Bamboo wind chimes -- Miscellaneous instruments. Bottles ; Cabasa ; Conch shell ; Crystal glasses ; Maracas and Shakers ; Rainstick ; Rice bowls and Flower pots ; Sandpaper blocks ; Sirens ; String drum and Cuica ; Stones and Prayer stones ; Thumb piano ; Vibraslap ; Wind chimes ; Whistles ; Wind machine Appendix A. Repertoire analysis. Percussion ensemble. Edgard Varáese, Ionisation (1929-1931) ; John Cage, Constructions (1939-1942) ; Iannis Xenakis, Persephassa (1969) ; Steve Reich, Drumming (1970-1971) ; Steve Mackey, It is time (2010) ; John Luther Adams, Inuksuit (2009) ; Ryan Streber, Cold pastoral (2004) ; Nico Muhly, Ta clap (2004) ; Adam Silverman, Naked and on fire (2011) ; Paul Lansky, Travel diary (2007) -- Orchestral. Bâela Bartâok ; Sergei Prokofiev ; Maurice Ravel ; Gustav Mahler ; Dmitri Shostakovich ; Leonard Bernstein ; Carl Nielsen ; Jean Sibelius ; Wind Ensemble -- Smaller mixed ensemble. John Adams, Chamber symphony (1992) ; Stephan Hartke, Meanwhile (2007) ; Jacob Druckman, Come round (1992) ; Charles Wuorinen, New York notes (1982) ; Pierre Boulez, Sur incises (1996/1998) -- Percussion solo : Drums. Michio Kitazume, Side by side (1991) ; Elliott Carter, Eight pieces for four timpani (1950/1966) ; Casey Cangelosi, Meditation no. 1 (2011) -- Percussion solo : Keyboards. Jacob Druckman, Reflections on the nature of water (1986) ; Paul Simon, Amulet (2008) ; Steve Mackey, See ya Thursday (1992) ; Steve Swallow/Gary Burton, I'm your pal and Hullo Bolinas ; Donald Martino, Soliloquy (2003) -- Percussion solo : Multi-percussion. Iannis Xenakis, Psappha (1975) ; David Lang, Anvil chorus (1991) ; Roger Reynolds, Watershed (1995) ; Four Pieces for the author's "Setup #1" ; Nico Muhly, It's about time (2004) ; Michael Early, Raingutter (2007) ; Marcos Balter, Descarga (2006) ; Judd Greenstein, We shall be turned (2006) -- Percussion concerto. James MacMillan, Veni veni Emmanuel (1992) ; Einojuhani Rautavaara, Incantations (2008) ; Steven Mackey, Micro-concerto (1999) -- Orchestrating native sound. 505 8 $a Appendix B. Sample setups -- Appendix C. Extended techniques. Return to a "normal" method of playing ; Manipulations of timbre ; Striking unusual parts of an instrument ; Unusual usage of beaters ; Dead stroke ; Beating spot ; Bowing ; Friction roll ; Scrape ; Prepared instruments ; Pitch bending ; Vibrato ; Adding mass ; Sympathetic resonance ; Clusters ; Harmonics -- Appendix D. Pitch specification -- Appendix E. Dynamics -- Appendix F. Register -- Appendix G. Beaters -- Appendix H. Percussion family tree. Pitch clarity chart ; Note length chart ; Register chart ; Sound production chart ; The percussion family tree. How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the composer needs to comfortably create innovative and skilled percussion composition. Composition (Music) http://id.loc.gov/authorities/subjects/sh85029403 Percussion instruments Instruction and study. Composition (Musique) Instruments à percussion Étude et enseignement. MUSIC Musical Instruments Piano & Keyboard. bisacsh MUSIC Printed Music Percussion. bisacsh Composition (Music) fast Percussion instruments Instruction and study fast Print version: Solomon, Samuel Z. How to write for percussion. Second edition 9780199920341 (DLC) 2015018562 (OCoLC)909112416 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1161549 Volltext |
| spellingShingle | Solomon, Samuel Z. How to write for percussion : a comprehensive guide to percussion composition / Introduction. How this book is organized ; Instruments covered ; Working with percussionists ; Location specifics ; The value of not reading this book. General framework. A dysfunctional family. Comparison of family relationships -- The problem of pitch. The pitches of percussion ; The validations and limitations of novelty ; Three methods for indeterminately pitch instruments -- The written/improv divide. Expanding the color palette (to shrink the setup) ; The value of improvised and non-notated music -- Social composition. Write for people, not sounds ; Write what is wanted, not what to do ; Working with percussionists. General logistics. Instrument choice and management. Six stories, three sad and three happy ; Why use fewer instruments? ; How to consolidate ; Inexpensive instruments ; Exotic instruments ; Electronic percussion ; Multiple options for a specified instrument ; Instruments percussionists may not play ; Multiple percussionists ; Section setup ; Orchestra ; Wind ensemble ; Broadway pit ; Drum corps and marching bands ; Specialists ; Non-percussionists playing percussion ; Chairs and stands -- Issues of playability. Excessive polyphony ; How fast percussionists can play ; Unidiomatic writing : music that often requires memorization ; Dynamics ; Reaching the instruments ; Instruments with pedals ; Physical exertion and shaking ; Working with headphones or headset microphones. General notation. Basics of percussion parts and scores. Instrument list ; Instrument key ; Setup diagram ; Language ; Parts ; Cues ; Percussion in the conductor's score ; Dynamics -- Designing a notational system. Clefs ; Staves ; Noteheads ; Mixing determinately and indeterminately pitched instruments ; Key signatures ; What goes where on the staff ; The chicken or the egg? ; Unspecified instruments (indeterminate instrumentation) ; How much to notate ; Systems of notation for which there is no standard ; Return to a "normal" method of playing -- Note length, articulation, and phrasing. Note length chart ; Exact or inexact note-length indications ; Muting (muffling, dampening) ; Dead stroke ; Damper pedals ; Rolls -- Notations that are not recommended. Symbol notation ; Altered keyboard notation (timbre-staff). Beaters. To indicate or not to indicate? ; Beater lingo ; Logistical beater issues ; Sticks ; Mallets ; Triangle beaters and Knitting needles ; Brushes ; Rute sticks ; Chime hammers (Tubular bell hammers) ; Superball mallet ; Beaters as instruments ; Hands ; Bows -- Keyboard percussion. Ranges and construction ; Writing for keyboard percussion ; Stacked instruments ; Multiple players ; Extended techniques ; Miscellaneous. Drums. Sticks on drums ; Mallets on drums ; Hands on drums ; Playing on the rim or shell ; Beating spot ; Mutes ; Pitch bending ; Drum size ; Two-headed drums ; Multiple drums in setups ; Idiomatic writing for drums ; Timpani ; Tom-toms ; Snare drum, Field drum, and Tenor drum ; Concert bass drum and Pedal bass drum ; Bongos and Congas ; Timbales ; Roto-toms ; Frame drums ; Tambourines ; Djembe and Doumbek ; Boobams ; Drumset. Metal. Cymbals ; Gongs ; Finger cymbals ; Cowbells and Almglocken ; Temple bowls and Mixing bowls ; Brake drums, Metal pipes, Anvils, and Bell plates ; Thundersheet ; Junk metal, Tin cans, and Pots and pans ; Ribbon crasher ; Spring coil ; Church bells ; Hand bells ; Steel drums ; Tambourines ; Sleighbells ; Metal wind chimes, Mark tree, and Bell tree ; Flexatone ; Extended techniques. Wood. Woodblocks, Templeblocks, and Log drum ; Wooden planks ; Wood drums, Wooden boxes, Cajâon, and Mahler hammer ; Claves ; Castanets ; Rute ; Guiro ; Slapstick ; Ratchet ; Bamboo wind chimes -- Miscellaneous instruments. Bottles ; Cabasa ; Conch shell ; Crystal glasses ; Maracas and Shakers ; Rainstick ; Rice bowls and Flower pots ; Sandpaper blocks ; Sirens ; String drum and Cuica ; Stones and Prayer stones ; Thumb piano ; Vibraslap ; Wind chimes ; Whistles ; Wind machine Appendix A. Repertoire analysis. Percussion ensemble. Edgard Varáese, Ionisation (1929-1931) ; John Cage, Constructions (1939-1942) ; Iannis Xenakis, Persephassa (1969) ; Steve Reich, Drumming (1970-1971) ; Steve Mackey, It is time (2010) ; John Luther Adams, Inuksuit (2009) ; Ryan Streber, Cold pastoral (2004) ; Nico Muhly, Ta clap (2004) ; Adam Silverman, Naked and on fire (2011) ; Paul Lansky, Travel diary (2007) -- Orchestral. Bâela Bartâok ; Sergei Prokofiev ; Maurice Ravel ; Gustav Mahler ; Dmitri Shostakovich ; Leonard Bernstein ; Carl Nielsen ; Jean Sibelius ; Wind Ensemble -- Smaller mixed ensemble. John Adams, Chamber symphony (1992) ; Stephan Hartke, Meanwhile (2007) ; Jacob Druckman, Come round (1992) ; Charles Wuorinen, New York notes (1982) ; Pierre Boulez, Sur incises (1996/1998) -- Percussion solo : Drums. Michio Kitazume, Side by side (1991) ; Elliott Carter, Eight pieces for four timpani (1950/1966) ; Casey Cangelosi, Meditation no. 1 (2011) -- Percussion solo : Keyboards. Jacob Druckman, Reflections on the nature of water (1986) ; Paul Simon, Amulet (2008) ; Steve Mackey, See ya Thursday (1992) ; Steve Swallow/Gary Burton, I'm your pal and Hullo Bolinas ; Donald Martino, Soliloquy (2003) -- Percussion solo : Multi-percussion. Iannis Xenakis, Psappha (1975) ; David Lang, Anvil chorus (1991) ; Roger Reynolds, Watershed (1995) ; Four Pieces for the author's "Setup #1" ; Nico Muhly, It's about time (2004) ; Michael Early, Raingutter (2007) ; Marcos Balter, Descarga (2006) ; Judd Greenstein, We shall be turned (2006) -- Percussion concerto. James MacMillan, Veni veni Emmanuel (1992) ; Einojuhani Rautavaara, Incantations (2008) ; Steven Mackey, Micro-concerto (1999) -- Orchestrating native sound. 505 8 $a Appendix B. Sample setups -- Appendix C. Extended techniques. Return to a "normal" method of playing ; Manipulations of timbre ; Striking unusual parts of an instrument ; Unusual usage of beaters ; Dead stroke ; Beating spot ; Bowing ; Friction roll ; Scrape ; Prepared instruments ; Pitch bending ; Vibrato ; Adding mass ; Sympathetic resonance ; Clusters ; Harmonics -- Appendix D. Pitch specification -- Appendix E. Dynamics -- Appendix F. Register -- Appendix G. Beaters -- Appendix H. Percussion family tree. Pitch clarity chart ; Note length chart ; Register chart ; Sound production chart ; The percussion family tree. Composition (Music) http://id.loc.gov/authorities/subjects/sh85029403 Percussion instruments Instruction and study. Composition (Musique) Instruments à percussion Étude et enseignement. MUSIC Musical Instruments Piano & Keyboard. bisacsh MUSIC Printed Music Percussion. bisacsh Composition (Music) fast Percussion instruments Instruction and study fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85029403 |
| title | How to write for percussion : a comprehensive guide to percussion composition / |
| title_auth | How to write for percussion : a comprehensive guide to percussion composition / |
| title_exact_search | How to write for percussion : a comprehensive guide to percussion composition / |
| title_full | How to write for percussion : a comprehensive guide to percussion composition / Samuel Z. Solomon. |
| title_fullStr | How to write for percussion : a comprehensive guide to percussion composition / Samuel Z. Solomon. |
| title_full_unstemmed | How to write for percussion : a comprehensive guide to percussion composition / Samuel Z. Solomon. |
| title_short | How to write for percussion : |
| title_sort | how to write for percussion a comprehensive guide to percussion composition |
| title_sub | a comprehensive guide to percussion composition / |
| topic | Composition (Music) http://id.loc.gov/authorities/subjects/sh85029403 Percussion instruments Instruction and study. Composition (Musique) Instruments à percussion Étude et enseignement. MUSIC Musical Instruments Piano & Keyboard. bisacsh MUSIC Printed Music Percussion. bisacsh Composition (Music) fast Percussion instruments Instruction and study fast |
| topic_facet | Composition (Music) Percussion instruments Instruction and study. Composition (Musique) Instruments à percussion Étude et enseignement. MUSIC Musical Instruments Piano & Keyboard. MUSIC Printed Music Percussion. Percussion instruments Instruction and study |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1161549 |
| work_keys_str_mv | AT solomonsamuelz howtowriteforpercussionacomprehensiveguidetopercussioncomposition |